An interview with Casey Jones, by Jon Ellis.
Casey Jones, penciler of such books as EXCALIBUR, QUICKSILVER, and artist for Marvel Online's cyber comics, started drawing comics professionally at the age of 19 when Bob Schreck gave him his first "paying gig" for a DARK HORSE PRESENTS horror story. Afterwards, Casey was able to get work at DC Comics. This lasted for about a year as he bounced around various "forgettable" superhero books. After his stint at DC was over, Casey went to San Diego where he met Bob Harras and shoved some copies under his nose.
"Within a week, I was drawing my first issue of EXCALIBUR for Marvel Comics. I spent over a year as the 'regular fill-in artist' for Carlos Pacheco. Drawing issues that had to compete with Carlos really pushed me to improve. Although nothing I did could really stand up to where Carlos was at with his skills, I'm happy with the experience and know that it really helped me grow. After EXCALIBUR, I continued to work for Marvel for the next three years."
PI: How did EXCALIBUR force/help you to change/perfect your style? What other projects did you undertake with Marvel afterwards?
CJ: Well, it forced me to grow at a much faster rate. This was mainly due to the pressure I put on myself to make each page better than the last and to try and compete with Carlos. I really didn't want to disappoint fans of Carlos who were picking up the book expecting to see his stuff. After EXCALIBUR, I did a CABLE/X-FORCE annual (which I'm still proud of) and QUICKSILVER 1 and 2. I quit QUICKSILVER because it just wasn't the book I thought it would be. Instead of being a book about Quicksilver (a character I found really interesting, mainly due to Peter David's take on him), it mainly focused on these humanoid/animal characters called The Knights of Wundagore. This was a disaster in my eyes, so I felt it would be best to just walk away from the project. The writer quickly followed me out the door as well. After QUICKSILVER, I spent the next two years doing comics for Marvel Online.
PI: Any particularly inspiring schooling? Influences? Outstanding trials and tribulations of making your way into the industry?
CJ: I'm completely self-taught - I never got the chance to go to art school. I've basically struggled my way through, teaching myself as I went. This led to some long hours once I started getting assignments. From age 19 to 23, my first four years drawing comic books, I was working an average of 100 hours a week, sometimes staying awake 30 to 40 hours at a time. I just turned 25, and I look back at those days and shudder. It put an incredible strain on my marriage (yes, married at 19!) and my health (you can't stay awake that long and be productive without a steady diet of caffeine, nicotine, and ephedrine). I look back at that time as "paying my dues" and think of it as a crash course in learning how to draw comics. So, after being extremely burnt out, I've spent the last year keeping a low profile and recharging my batteries. It seems to have worked.
I'm now doing a new 3-issue mini-series for the NFL, and I'm able to produce a page a day for the first time in my life. I'm finally feeling like I know what I'm doing, and have finally found some confidence in my work. I really wasn't ready to be drawing comics when Schreck was nice enough to give me my "big break", but it at least got the ball rolling. And, although I pretty much hate everything I did in the first four years, it at least got me to the next level. I've still got a long ways to go, but I'm finally feeling like I'm on the right track. Taking myself out of the game for a year was the best thing I could've done. I've been able to grow until I've finally become confident in my abilities, and now I'm eager to get back out there and on the stands.
PI: With anything specific?
CJ: Specifically anything with good writing. I've wasted too much of my career drawing stories that were a waste of paper. As long as I can hook up with a writer who's stories I believe in, I'll be happy.
A few other points of interest along the way are the three years I spent as a part of Artamus Studios with Rich Case, Scott Hampton, and Mike Wieringo, and my working relationship with Rob Haynes, who collaborated with me on EXCALIBUR and QUICKSILVER and really helped me grow a lot.
PI: I think it's safe to say that you may have had an influence on Haynes as well.
CJ: Well, Rob has definitely expressed that being able to concentrate on layouts for so long really did help him sharpen his storytelling abilities, and it also has helped him develop a visual shorthand type of style that, to me, is one of the most interesting styles out there today. It really makes me happy that Rob was able to use our experience together to grow as well. As a storyteller, Rob is peerless. Along with Andrew Robinson, Rob is one of the most exciting young talents in the field today.
PI: Those are some big names, and a nice variety, must of had quite an influence on your work and style?
CJ: Not really. We all had such a different way of working that we didn't really rub off on each other that much. I would say that Scott Hampton had the most influence on me in the long term. I'm a big fan of his organic approach to inking, and being exposed to it has really helped me open up to looser, more natural way of drawing. Most of my early stuff looks so mechanical and sterile. It's taken me a long time to learn how to draw with confidence, which really gives the work more energy and life.
PI: How did working in a studio help with your work - ever had to result to beating each other when deadlines were baring down?
CJ: Working in a studio was like being married to four hairy guys. Everybody has their own quirks to deal with, but you learn how get along with one another without bloodshed. A studio is such a great thing - you always have a support group around to give you encouragement, criticisms, and companionship. It creates a synergy that can't really be described. It was a lot of fun!
PI: How do you find working on cyber comics differs from normal sequential format? Which do you prefer?
CJ: Doing cyber comics is completely different from drawing comic book pages. It's more like working in animation than drawing comics. I prefer doing comic book pages. Plus, I like having an actual comic book to read and look at, instead of a computer monitor.
PI: Now that you've been able to go out on your own, any thoughts on your own series? Any creator-owned works?
CJ: I've definitely got a lot of interest in doing my own projects, but it's something I'm not going to force just because it's expected. Until I've studied enough about writing to feel confident that I would have something to offer, I think it's best that anything "creator owned" remain in my sketchbooks. I've got too much respect for the Dave Sims of the world to do something of my own before I'm ready.
PI: Here's some quick questions; favourite characters? Heroes? Villains? Animal that wore a suit?
CJ: Spidey's my all-time favorite. My Mom started my subscription to AMAZING when I was five. Hellboy and Dusty Star are my favorite two creations out there today. They're both the perfect vehicles for each respective creator to tell the type of stories they want to tell.
PI: Favourite old school artist?
CJ: John Romita
PI: Most under appreciated current artist?
CJ: Steve Skroce -- nobody is working harder than this guy!
PI: Worst fanboy experience?
CJ: Hmmm. Most of the "worst" ones turn out to be the best, just because you get a new story to tell.
PI: Favourite book to work on?
CJ: EXCALIBUR was the most fun to work on. I loved those characters and the way Warren handled them.
PI: Proudest work?
CJ: EXCALIBUR #102. It was the point where everything started clicking with Rob doing layouts and Jason Martin inking. Plus, it's a great Pryde & Wisdom story from Warren with lots of fun action.
PI: Favourite character or book you hope to some day work on?
CJ: Spider-Man.
PI: Advice to those attempting to break into the biz?
CJ: Anyone can do it, as long as you're willing to work.
PI: What's your dream project? If you could work with any companies, characters, writers, artists - no restrictions, no rules, complete creative freedom - what would you do?
CJ: I really don't have a dream project; I'm just trying to stay focused on getting better. There are definitely people that I would love to work with, though. I'm a big fan of Dan Green, and I would love to work with him one day.
PI: And now everyone's favourite game; the name game. Here's how it works; I say the name of a certain creator and you say whatever comes to mind. Jack Kirby.
CJ: Was not a part of my childhood, so I don't have the same love for his work that most everyone else does. Sorry.
PI: Warren Ellis.
CJ: Solid writer. His "crap stories" were still strong enough to keep me interested. I'm happy to see him tell the stories he wants to tell these days, but I'd still like to see him do superhero stuff again one day.
PI: Rob Haynes.
CJ: The only genius I know.
PI: Mike Wieringo.
CJ: Fun style and solid storytelling
PI: Robert Crumb.
CJ: Not interested
PI: Will Eisner.
CJ: Some of the best books I've ever read, and they always make me cry. Seamless storytelling.
PI: Garth Ennis.
CJ: I read PREACHER in the TPBs and love it. He's doing great stuff. Plus, I posed for Arseface in his origin story that Rich Case did (little-known fact!).
PI: Jeph Loeb.
CJ: Seems like a nice guy, but I haven't read enough of his work. I'm looking forward to SUPERMAN though
PI: Richard Case.
CJ: A good friend and great artist.
PI: Chuck Wojtkiewicz.
CJ: An amazing designer and draftsman.
PI: Scott Hampton.
CJ: A great artist and a great writer. "The Upturned Stone" is one of my favorite stories of all time. Plus, Scott has a great sense of humor and is a fellow Stephen King fan - we got along well. He's just as good of a cartoonist as he is a fine artist - which you don't see very often.
PI: Peter David.
CJ: I like his writing. His run on X-FACTOR with Quesada was exceptional stuff, but I haven't kept up with what he's been doing lately. I will be reading SPYBOY.
PI: John Byrne.
CJ: Nothing but respect for Byrne. It seems like he has so many stories to tell that the artwork has become more of a technical process than him having fun, though.
PI: Jim Lee.
CJ: I'm excited that he's made the decision to be more artist than businessman. I hope to see him keep pushing himself more in the future, instead of relying on what he knows.
PI: Pop Mhan.
CJ: One insanely talented guy - this guy can draw his ass off.
PI: And finally, any advice for fans who want to keep up with your work?
CJ: Keep checking in with my website at http://pmayhem.com/caseyjones/ to see what new stuff I've been doing and what upcoming projects that I'm working on. Thanks!
PopImage would like to say thank you once again to Casey Jones for participating in this interview and would also like to remind you to get your ass over to his site! Now! What the hell you waiting for? GO!
 |
 |
 |
|
Pop Preview - Grendel: Past Prime Talkback:
|
||
 |
|
 |
Relevant Links
Casey's website